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Broad Description
How would you describe this composition?
Type/Genre
(suite, motet, overture, etc.)
A thorough
analysis of the
music is a Background Information
necessary • Research the style period this was written for and determine the
foundation for compositional elements that make it a characteristic or uncharacteristic
significant example of the period?
learning and • Research the composer’s life and style characteristics. Pay particular
great attention to those aspects that pertain to your composition and that would
performances interest your students.
• Explore why the composer wrote this piece (e.g. commissioned for a special
event or written as part of job) and determine whether it is a good example of
her/his work.
• Determine who originally would have performed this piece and in what
setting.
• Discuss any traditions that accompany this piece (such as standing for The
Hallelujah Chorus)
Harmony – What is the harmonic rhythm? How and when does it modulate and
what are the key relationships? Where are there dissonances? Are there
any suspensions?
The time Timbre – What are the colors in the piece? Is it primarily bright or dark and what
invested in an instrumentation or voicing creates the colors? How does the timbre
reflect the text, title, or mood?
analysis is
directly Texture – Is this piece primarily homophonic, monophonic, or polyphonic? Is it
related to the melody and accompaniment or monody? Does the density of the overall
depth of texture change? How does the composer contrast textures and what
student effect does that create?
learning
Expression– What are the dynamics, phrases, articulations, and tempi for this
piece? How and when is each element used and applied?
Additional Considerations
How does the composer create moments of tension and release?
How does the composer use and create contrast?
How does the composer unify the composition?
How does the composer sustain interest throughout the composition?
How does the instrumentation contribute to the overall effect of the composition?
How does the orchestration represent the style period?
The Heart
What attracted you to this piece of music?
What maintains your interest in it?
What gives this music its distinctive qualities?
What do you learn about yourself through the eyes of this music?
How has the composer created your response through compositional devices?
Affective Outcomes
What internal and subjective aspects of students’ musical and life
Share your experiences—attitudes, values, desires, commitments and tastes—will you
goals with focus on while teaching this piece?
your students
Verbs for Writing Skill and Knowledge Outcomes
Bloom’s Taxonomy
Appraise, compare, critique, criticize, evaluate, support,
VI. Evaluation summarize, judge, consider, recommend, weigh, relate
Remember to (most complex)
think about Combine, plan, role-play, invent, compose, revise,
goals for an V. Synthesis design, hypothesize, construct, create, develop, produce,
entire year as organize, originate
well as for an
entire Analyze, classify, survey, distinguish, categorize,
IV. Analysis subdivide, differentiate, infer, separate, select, point out
program (3-4
years) Apply, change, choose, solve, show, sketch, modify,
III. Application dramatize, classify, discover, produce, prepare, use,
paint
Do things in
small doses—a
rehearsal is not Warm-ups
a theory or Start with outcome in mind and then design warm-ups that prepare students for
performing with understanding during the rehearsal. You should have both short and
history class. It long-term goals in mind.
is a workshop in
how to perform
with
understanding. Take Out the Piece
How many different ways can you refer to your piece?
Rhythmic motif Key signature Contemporary of Texture
Form Tonality the composer Genre
Historical Meter Instrumentation Compositional
background Language Solos Devices
Composer Modulations Scale type Style Period
Practice the art Articulation
of
brainstorming
new rehearsal
strategies Introducing the Piece
without the You only get one chance to make a good first impression! Start with:
censoring voice An obstacle The heart A recording
that says “It’ll Reading the text Telling an interesting Talking about the
never work.” A short writing assignment anecdote composer
The original folk song The historical millieu Playing important themes
Journal Assignments
Personal goals for the quarter Self grading with explanations
Outside concert reviews/critiques Description of practice hours
Share Weekly reviews Musical activities outside of classroom
portfolios with Opinions about rehearsal issues Listening activities
Self evaluations Interviews
parents and
administrators Tools for Assessing Observation, Performance and Journals
to advocate for Checklists
comprehensive Rating Scales: numeric, graphic, descriptive
musicianship Rubrics
Evaluation
Of the assessment design
• Are the criteria for success clear to students and parents?
• Do students get clear and honest feedback according to the criteria?
• Are the assessments (tests, rubrics, checklists) well designed?
Action
What will you do with the information gathered?
• Reflect
• Design instruction
• Require homework
• Assign grade
MUSIC SELECTION
Determining the Quality of the Composition
A good Uniqueness Form
composition, Design Unpredictability
regardless of Depth Consistency
the level of Text Transcendence
Orchestration/Voicing
difficulty, has
lasting Everyday Needs to Be Considered
qualities Programming Level of Difficulty Personnel
Length Maturity Voicing
Audience Technique Tessitura
Special guests Literacy Instrumentation
Community Rehearsal time Solos
available Accompaniment
What do your Balancing the Curriculum
students need?
BAND
Historical Periods Musical Forms
Renaissance Theme and Variation
Baroque Rondo
Classical Sonata
19th Century Prelude and Fugue
20th Century/Avant Garde Suite
Is the Musical Genres Fugue
knowledge Marches Canon
gained Overtures Minuet and Trio
transferable? Symphonies (movements) 12 Bar Blues
Film Music ABA
Folksong Arrangements Through Composed
Concerto
Programmatic Music Varied use of Ensemble
Jazz Full Band
Musical Theater Wind Ensemble
Chamber Ensembles
CHOIR